“Sessions is a concept album about a man who wakes up from a coma and is sent straight into a psychiatric hospital where he begins a series of tests against his will. In the process he meets a doctor who remains with him every step of the way. During these sessions, with the guidance of the doctor, he is transported into the outer reaches of his own mind to confront the insecurities and demons that plague him.”
Resembling the premise behind the new album from ferocious US technical metallers The Summoned is the listening experience of Sessions. The nine track exploration is a kaleidoscope of sound and technical craft which barely gives a moment for a breath within its often infernal tempest taking the listener into the darkest, deepest recesses of their psyche. It is a demanding and intensive journey across story and album but ultimately one seriously rewarding one.
Formed in 2007 and drawing on the inspiration of bands such as Death, Between The Buried And Me, Decapitated, The Faceless, Behemoth, The Dillinger Escape Plan and others, the Boston, Massachusetts hailing quartet pretty soon revealed their own individual character of sound. Since then they have relentlessly pushed theirs and in turn metal’s assumed boundaries to find a strain of uniqueness really having its head in the band’s latest encounter. After the Harvest EP in their first year, the 2011 released debut album If Only Minds Could Paint Pictures garnered a wealth of critical acclaim, its success supported and followed by the band successfully undertaking a 23-day headline tour spanning the U.S. and Canada as well as being part of 2012 Summer Slaughter Tour with Cannibal Corpse, Between The Buried and Me, The Faceless and more. From the winter of 2013, The Summoned began working on their second album, entering the studio with long-time friend Evan Sammons of Last Chance To Reason to begin the recording process. The next three years were concentrated on the creation of Sessions, time and intensive attention showing all its qualities in a release even more enthralling as well as bolder and more accomplished, technically and emotionally, than its impressive predecessor.
Within seconds, opener The Pendulum Swing has the senses twisted and imagination askew, the guitars of Shaun Murphy and Jarred Sullivan spinning a web of disorientating metal aligned to post punk discordance as bass and drums grumble and impose their psychosis. Vocalist Stephen Thompson supported by the equally rawer tones of Murphy, is a venomous scourge, words and emotions a primal yet composed assault as blurry as precise in their invasively relentless suggestiveness. The determined, unyielding nagging is a constant across sound and album, every aspect and texture a ruthless persistence in its moment within a just as eagerly evolving unpredictable tapestry.
The track is an absorbing, thrilling start; a rabid introduction but eclipsed in ferocity by the following Faradic. As the rhythms of drummer Sam Hang ravage the senses yet still manage to be an anthemic enticement, guitars dance provocatively and psychotically on the imagination. Flavours and styles proceed to flicker with enthusiastic dexterity and boldness across the song, jazzy and progressive turns colluding with extreme and technical metal tenacity as vocals flow with a toxic essence. As in the first and next up Fractal Patterns, there is a real virulence to everything too; an infectiousness veining every fury and creative twist with the third track a debilitating but equally magnetic carousel of sound and invention. Melodies spawn from ravenous hostility, deranged trespasses from atmospheric caresses; every second a cauldron of intrigue and harsh drama.
Through the possibly even more primal and savage The Grave Mistake and the dark climate of Built of Glass there is no lessening of the resolute examination of senses and imagination; both tracks a flight of startling adventure and striking craft with the first a spiral into disturbing calm from cyclonic agitation, and back again, while the second aligns melancholy and sonic savagery within its dramatic almost cinematic theatre.
Both Vertiginous with its whirling melodies and rotating spine of far more carnal strains and the unbridled ferocity of the equally multi-flavoured Primogenial Birth keep ears and imagination gripped and consumed, the latter at times as primal as it is in other moments elegant and jazzily bewitching. Again neither leave a second free for the body to relax or expectations to try and rear their head, Recollection similarly a storm of sonic transgression and off-kilter progressive enterprise which, as all tracks, really is impossible to truly represent in word and suggestion.
Closing up with the initially melodically charming, hope embraced Satori, the album is simply one uncompromisingly compelling proposition. Shadows soon crowd and invade the listener as the final track hits its creatively hungry stride; pretty much epitomising the whole of Sessions with its capricious yet intensely woven and nurtured web.
Certainly Sessions is an imposing listen to match its presence and hard to take all in over a few let alone a single listen but rewards with every quest taken. Equally at times due to Thompson’s fine but exacting raw delivery lyrically the album shares moments lyrically which remain a mystery in the tale but are potently compensated by the clear emotion of the sounds and his presence; in saying that though a thicker use of the clean touches provided by Murphy within both Fractal Patterns and Built of Glass would make for another intriguing dynamic ahead. Nothing though defuses the potency and pleasure of sharing time with the album, or the calm to contemplate after its outstanding tempest.
Sessions is out now @ http://store.thesummoned.com/album/sessions
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Pete RingMaster 21/06/2017
Copyright RingMaster: MyFreeCopyright
I am assuming the album took a fair amount of time to get from writing to release, from the disruptions alone. What is the time period to its creation?
False Flag is frequently compared to Meshuggah and in the past that was probably a more relevant comparison but as opener Sacrifice Of Solitude shows alone, any likeness is a mere passing spice in a recipe which entwines varied flavours of extreme and groove lit metal. The first song emerges from a stark landscape blown over by a desolate sonic wind. It is an evocative entrance which is quickly immersed in rabid riffs, vicious rhythms, and already toxic grooving. With the rapacious vocal scowling of Gauthier spewing antagonism with every raw syllable, the track is soon a venomous trespass of the senses but in turn speared by melodic tendrils of searing guitar and a bruising but inescapable swing sculpted by those ever inviting grooves and the throaty bass of Ishak. It is simply a predator and one compelling and thrilling start to the release.
The excellent start continues through Poverty Is in the Soul, the beats of drummer J.C. Chavez S. a swift protagonist rifling through ears and stirring up an eager appetite. Its lively start slips into a reflective few seconds before challenging and inviting the listener through a slim but intimidating lead into the relentless fierce shuffle of its body. The sturdiest rhythms throw themselves around like a mosh pit whilst the more traditional percussive tempting just lights ears with exotic persuasion. The scythes of melodic and sonic enterprise from lead guitarist Gallegos equally spark the imagination, especially when they evolve into acidic strands of incitement alongside the same musician’s sax exploits.
Casuistry has growth in every aspect from its striking predecessor, a new maturity and exploration fuelling songwriting to sound, lyrical endeavour to technical resourcefulness. This also applies to the rigorous challenge on the senses and psyche of the listener which will be too much for some, but the rewards as evidenced straight away in opener Believe the Unseen, border on intoxicating at times. From its first breath, the song offers a bestial roar on ears, the throat ripping bellow of Bartosek alone a fierce and gripping incitement matched by hellacious riffs and rhythms. It is a brief savagery though as mere seconds later spiralling melodic enterprise flows from the guitars of Johnathan Matos and Matt Mendez, entangling the predacious bassline of Alex Vazquez and the rugged beats of Phillips in their midst. Within thirty seconds the song is a creative tempest, an unpredictable maelstrom which allows thoughts a glimpse on getting a handle of things before stirring its body and threat up all over again. Thoughts of Trepalium hint away across the track but also as everything turns in on itself and dives into new ideation, the likes of The Faceless and The Contortionist spring up.
colouring to that which lit up its predecessor, as well as new variety to the vocal attack, guttural and swinish growls adding to the resourceful textures and fascination of the track. Maybe not quite as dramatically striking as the first but matching it in invention and riveting temptation, the track keeps the intensity boiling and greed for more growing, a hunger straight away fed by the outstanding voracity and mystique of The Others. Embracing an India bred melodic adventure within a groove infested swing of predacious incitement, the song flirts and savages with equal potency and simultaneous success. It is a transfixing and invigoratingly radiant abuse of a merger; imagine Veil of Maya, Mesuggah, The Faceless, and Scar Symmetry embroiled in a tempest spiced with some Korn and you get a feel of the third treat on Ignotum.
Brunkhorst, bring further thick colour and spice to the already colourful design of the song. The technical ability of the band is just as striking and instant, the guitars spinning a web of infectious and intimidating enterprise whilst the rhythmic side of the song, along with the harsher side of the vocals, carries as much malevolence as the melodies and sonic endeavour brings flirtatious ingenuity. Equally the songwriting shines brightly, especially in the way the band blends and twists extremes around a fluid core of intent and imagination. It is a fine incitement though soon shaded by Verdugo and even more so the outstanding Ravenholm. The first of the two stands steely eyed with hooks and riffs a savage persuasion within a caustic and radiant melodic atmosphere. Again opposites attract within the song and combine for a tantalising and intimidating excursion for ears and thoughts which the second of the pair pushes to new scenic heights. Opening with a melodic death metal ferocity and invention, the track evolves before the ears as melodies provide a catalyst taking the voracious vocal driven emprise into a seductive waltz of Latin sultriness and acoustic Spanish guitar refinement. It is an enthralling and thrilling proposition which returns to its original caustic blaze before merging it into the sonic brilliance which binds the majestic encounter.
Goudreau, and drummer Avery Desmarais uncage its creative pestilence on the senses. Opening track Born Of Rot immediately imposes itself on ears and imagination, riffs savage in touch and raw in voice. The steady rapacious start is soon striding with a thrash urgency and hunger as the heavy guttural tones of Goudreau growl into action. The song’s irresistible entrance loses none of its potency and voracity as the song expands with sonic tendrils amongst bestial bass lines and thumping rhythms. The band cites the likes of Pantera, Deicide, Vital Remains, Dying Fetus, and Bolt Thrower as influences and as the song tangles intimidating prowls and fury led surges essences of those hints come out in the flavour of the track, and EP overall.
and welcoming ambience soon lit by a wonderful caress of guitar, its classical melodic touch soothing and inviting. All the while shadows are converging adding their menace to the rising vocal harmonies and warm melodies. They eventually break through with roaring caustic growls and stabbing riffs though they still court the elegance which voiced the start. It is a respectfully dramatic piece bringing clouds and uncertainty into view ready for The Misdirection of God to erupt with seemingly insidious intent. Immediately the vocals impress; the diverse ever shifting style and delivery from Gary King, very ably backed by that of bassist Ryan Banks, magnetic within the equally revolving and evolving tempest around them. The rhythms of drummer Connor Jobes rampage with crippling sinews and ferocious agitation from their every beat whilst the guitars of Simon Atkinson, Rownan Tennet, and Mallaby cast a simultaneously vitriolic and enticing web of sound around ears and thoughts. As mentioned previously there is so much accosting and intriguing senses that you cannot at first take it all in over one song let alone the album, but as traverses of and time exploring the song unveils irresistible bait like the classically honed keys with at times stand to the fore and in others flirt from a hollowed distance, the adventure just gets stronger and more spellbinding.